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Jane Eyre > Thornfield > Flashcards

Thornfield Flashcards

1
Q

‘reader’ chapter 11

A

repetition. moments of change

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2
Q

‘the roads were heavy, the light misty’ chapter 11

A

metaphorical - moving through the Bildungsroman

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3
Q

Mrs Fairfax

A

warmth from ‘fire’. social class is inextricably linked with character. doesn’t answer Jane’s questions clearly about Rochester and Thornfield - mystery

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4
Q

‘keys’ chapter 11

A

repetition.deeply symbolic for Thornfield being shrouded in secrecy. Jane being kept from secrets in the house

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5
Q

‘I anticipated only coldness and stiffness… but I must not exult too soon’ chapter 11

A

awkward social position of the governess - above servants but below family. Bronte introducing theme of social inequality

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6
Q

‘an array of mighty old thorn trees, strong, knotty, and broad as oaks, at once explained the etymology of the mansion’s designation’ chapter 11

A

link to Mr Rochester and foreshadows the secrets that surround Thornfield

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7
Q

Adele

A

‘she is Mr Rochester’s ward’ - deliberate use of Romantic terms. adopted in rich household to improve social standing

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8
Q

‘most of the books were locked up’ chapter 11

A

freedom contrasts with images of locked up - dichotomy of Mr Rochester/Jane? society to repress

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9
Q

Mr Rochester

A

incite into his character - “Mr Rochester’s visits here are rare, they are always sudden and unexpected” - sense of entitlement. “he is rather peculiar” “he is very changeful and abrupt”

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10
Q

‘all these relics gave to the third storey of Thornfield Hall the aspect of a home of the past: a shrine of memory’

A

something from past - gothic genre- link to Bertha - thing from the past that is locked away

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11
Q

‘if there were a ghost at Thornfield Hall this would be its haunt’ chapter 11

A

Bertha is the ghost - unseen - causes speculation

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12
Q

‘the laugh was as tragic, as preternatural a laugh as any I ever heard’ chapter 11

A

echoes loneliness of Bertha. beyond what is normal

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13
Q

‘women feel just as men feel; they need exercise for their faculties, and a field for their efforts, as much as their brothers do’ chapter 12

A

Bronte showing proto-feminist thoughts which men in Victorian era would find repellent

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14
Q

‘appear through the dusk’ chapter 12

A

pathetic fallacy - highly metaphorical - doesn’t see Rochester - man shrouding in secrecy

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15
Q

Gytrash

A

Jane is sensitive to omens - believes in supernatural - gothic atmosphere - vivid and theatrical

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16
Q

‘man and horse were down’ chapter 12

A

foreshadowing Rochester’s disability and Jane caring for him. inverse of and an antipathy of any Romantic meeting’

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17
Q

‘silent hall… faint excitement… too still existence’ chapter 12

A

all adjectives show Jane is trapped

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18
Q

‘I knew my traveller by his broad and jetty eyebrows; his square forehead, made squarer by the horizontal sweep of his black hair’ chapter 13

A

Rochester is the Byronic Hero - mysterious, dark, brooding, well travelled and set apart from society norms

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19
Q

‘reader… these pictures were in water-colours…clouds low and livid, rolling over a swollen sea’ chapter 13

A

Romantic, preoccupation with extreme wild landscapes and exotica are indicative of Jane’s true nature

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20
Q

“they are elfish” chapter 13

A

link to how Jane saw herself in the red room - communion of souls between Jane and Rochester. sense of exotica

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21
Q

“you have the air of a little nonnette” chapter 14

A

Jane’s innocence. Jane is able to speak the truth to him. Bronte to show development of Jane growing up and loving Rochester

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22
Q

“I have plenty faults of my own… I envy you your peace of mind… I am not a villain” chapter 14

A

Rochester referring obliquely to Bertha. shows how he views himself as ‘polluted’ - Bertha was a prostitute. Rochester admires Jane’s purity and her sense of innocence

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23
Q

“I have a right to get pleasure out of life” chapter 14

A

really intimate conversation about sex - heightened intimacy between Jane and Rochester and heightens status of Byronic Hero

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24
Q

chapter 15

A

story of Adele. Jane absolute antithesis of Celine

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25
Q

‘demonic laugh… goblin laughter… unnatural sound was reiterated’ chapter 15

A

not human - reinforces that Bertha is robbed of her humanity

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26
Q

‘tongues of flame darted around the bed… smoke had stupefied him’ chapter 15

A

fire in Rochester’s room. smoke metaphorically represents how Jane is unable to see truth of Thornfield. Bertha’s strength of passion - uncontrollable wildness in contrast Jane gets her water jug and ‘baptised the couch afresh’ - washing away sins Jane’s christian temperance saves Rochester - raging passion of both Jane and Bertha

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27
Q

“It is as well to have a drawn bolt between one and any mischief that may be about” chapter 16

A

Grace warns Jane to keep her door locked - adding to secrets kept from Jane

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28
Q

Blanche Ingram

A

defined by beauty “Miss Ingram was definitely the queen” ‘her laugh was satirical’ -mocking ‘she played…she sang…she talked French’-all the accomplishments necessary for her class

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29
Q

‘fool… idiot’ chapter 16 ‘don’t make him the object of your fine feelings, your raptures, agonies and so forth. he is not of you order’ chapter 17

A

Jane scolds herself for considering Rochester would think well of her - linked to image what she knows about Blanche. “Portrait of a Governess, disconnected, poor, and plain” - Bronte once again highlighting the isolating and painful social position of a governess

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30
Q

“doesn’t she know?”… there was a mystery at Thornfield… I was purposely excluded’ chapter 17

A

more aware of her exclusion from the deepening mystery, furthering impacting her isolation within Thornfield

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31
Q

“what beautiful ladies!” chapter 17

A

exclamatory - Adele is interested in appearance - innocent eyes of a child - appearance vs reality theme introduced

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32
Q

‘I retired to a window seat’ chapter 17

A

observer - metaphorical representation for social class and society

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33
Q

‘flock of white plumy birds’ chapter 17

A

quainted metaphor - Jane is describing them for who appearance is entirely important

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34
Q

“what induced you to take charge of such a little doll as that?” chapter 17

A

Blanche’s lack of warmth -reduces Adele to a thing

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35
Q

“all incubi” “don’t mention the word governess, the word makes me nervous” chapter 17

A

incubi means holder of a disease so it shows Jane’s marginalised status- powerless -upper class attitudes to governesses- lack of empathy for Jane. Blanche is a snob, bully

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36
Q

chapter 18

A

appearance, disguise and reality

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37
Q

‘playing charades’ chapter 18

A

metaphor for Rochester lying about who he is

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38
Q

Jane’s view of Blanche

A

negative/condescending ‘tenderness and truth were not in her’

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39
Q

Mason chapter 18

A

dramatic arrival of a stranger fits nicely with the images of disguise and theatricality of charades

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40
Q

“no contact strikes the fire from you that is in you” chapter 19

A

Rochester talking to Jane through charades - fire Bronte has been talking about all the way through. Rochester honest to Jane only when in disguise -metaphorical for all the lies

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41
Q

“don’t keep me long; the fire scorches me” chapter 19

A

just going to be too hot or could be the fire which consumes Thornfield or her feelings for Rochester that overwhelm her or the danger of trusting Rochester or her vulnerability

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42
Q

“the passions may rage furiously” chapter 19

A

sense Rochester has closely observed Jane and understands the essence of her nature

43
Q

“I shall try to forgive you but it was not right” chapter 19

A

forgiving him for the charade. clear sense of propriety. foreshadows her refusal to become his mistress. form of adultery? or to do with Jane’s self worth

44
Q

“my little friend!” chapter 19

A

Rochester shows equality

45
Q

chapter 20

A

lunacy. echoes of red room torturing Jane

46
Q

‘the moon, which was full and bright, came in her course to that space in the sky opposite my casement’ chapter 20

A

Bronte is personifying the moon. Victorians believed that the moon ruled mad people

47
Q

‘a savage, a sharp, a shrilly sound’ chapter 20

A

sibillance - Bertha. Gothic overtones. attack on Mason - “she bit me… she worried me like a tigress”

48
Q

‘I heard thence a snarling, snatching sound, almost like a dog quarrelling’ chapter 20

A

mad as being less then human alternatively how physically violent she is. animalistic

49
Q

‘what crime was this… what mystery… what creature was it…?’ chapter 20

A

repeated questions heightens mystery

50
Q

“she sucked the blood: she said she’d drain my heart” chapter 20

A

attack on Mason. Vampiric imagery adds to highly gothic atmosphere. one could argue that she is attacking the symbols of patriarchy

51
Q

“all is real, sweet and pure… Jane will you have a flower?” chapter 20

A

sense Rochester wants to escape. extended metaphor. Garden of Eden trope - prelapsarian imagery

52
Q

dreaming chapter 21

A

classic gothic trope - Jane see it as a bad omen

53
Q

“Mr John died… they say he killed himself” chapter 21

A

very shameful for family. foreshadows Jane going back to Gateshead - structually like Beauty and the Beast-allows Jane to complete the business of childhood

54
Q

‘again she regarded me so icily… her feelings towards me - unchanged and unchangeable’ chapter 21

A

Mrs Reed hasn’t changed

55
Q

Georgiana “you could not bear me to be raised above you” chapter 21

A

Georgiana presented like Blanche

56
Q

“I disliked you too fixedly…I said I was sorry for his disappointment, but Jane Eyre was dead” chapter 21

A

Mrs Reed reveals letter of inheritance to Jane dated three years ago. lies - no reconciliation - Aunt Reed hasn’t changed

57
Q

‘living, she had ever hated me - dying, she must hate me still… neither of us dropped a tear’ chapter 21

A

Aunt Reed becomes a foil to Jane’s character

58
Q

chapter 22

A

Jane returns to Thornfield

59
Q

‘how full the hedges are of roses!… shooting leafy and flowery branches across the path’ chapter 22

A

In the present tense - sense of immediacy or retrospective - vivid memory. metaphor- rightness and naturalness of their relationship through nature

60
Q

“fairy” chapter 22

A

Rochester to Jane. link back to “they are elfish”. magical - gothic overtones. transformative power of love. subtle way of telling Jane he loves her

61
Q

‘a splendid midsummer shone over England’ chapter 23

A

suggest magic and love - love will be thwarted

62
Q

‘Eden-like’ chapter 23

A

Jane’s lack of knowledge. Prelapsarian innocence before the fall

63
Q

‘my tears gushed out… colder the thought of all the brine and foam… coldest the remembrance of the wider ocean’ chapter 23

A

response to Rochester teasing her. literal ocean and then the remembrance of the wider ocean - can’t be his equal - divide between them socially

64
Q

“I should take to bleeding inwardly” chapter 23

A

Rochester would metaphorically bleed to death without her. Jane is a part of him as Eve was a part of Adam - cannot undo it. Jane and Rochester equal - her response is “I see the necessity of departure; it is like looking on the necessity of death” - metaphorical death-simile- showing her emotions-strong willed

65
Q

“do you think I can stay to become nothing to you? Do you think I am an automaton? do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? you think wrong!” chapter 23

A

exclamatory and deep response on independence and equality filled with anaphora and rhetorical questions

66
Q

“equal - as we are!” chapter 23

A

images of love - talking to him as an equal and lover and Rochester repeats the “as we are” to show a shared sense of equality between them

67
Q

“I am no bird” chapter 23

A

Romantic image -inspired by French Rev. fighting for free will

68
Q

‘trembled through the boroughs of the chestnut’ chapter 23

A

pathetic fallacy. chestnut is a symbol of life

69
Q

chapter 23

A

Rochester proposes to Jane

70
Q

“your bride stands between us” chapter 23

A

Jane talking about Blanche so ironic image of Bertha. Rochester replies “my bride is here… because my equal is here, and my likeness”

71
Q

“God pardon me!” chapter 23

A

Rochester asks for God’s forgiveness

72
Q

“my little wife” chapter 23

A

kisses him - eating the apple

73
Q

‘it writhed and groaned… a livid, vivid spark leapt out of a cloud’ chapter 23

A

personification and pathetic fallacy. symbolism of storm - after Rochester addresses God, it suggests God will not pardon the sin of adultery

74
Q

‘the great horse-chestnut… had been struck by lightning… and half of it split away’ chapter 23

A

tree splits in two - ominous - marriage is doomed. still roots of love. innocence gone

75
Q

Mrs Fairfax once she finds out getting married chapter 24

A

representative of wider society - judgemental

76
Q

“pale, little elf” chapter 24

A

epithet - communion of souls suggests a connection between them

77
Q

“Jewels for Jane Eyre sounds unnatural and strange” chapter 24

A

she’s not interested in his wealth or her new status or she does not want to feel trapped - sinister irony - Bertha

78
Q

‘shut the Bible’ chapter 24

A

Mrs Fairfax voice of people - concern to level of it being a dream - closing her eyes to the legalities - knows Rochester will commit bigamy - separating herself from his decision and its consequences

79
Q

“all is not gold that glitters” chapter 24

A

Mrs Fairfax warns Jane with an old saying - trouble is still clearly foreshadowed and worried about class difference

80
Q

‘I never can bear being dressed like a doll by Mr Rochester’ chapter 24

A

Mr Rochester wants her to look like an upper class wife. Jane rejects his mark of superiority. she still desires independence - even whilst being engaged

81
Q

Jane still wants to work chapter 24

A

her work offers independence

82
Q

“nor care I now, how dense and grim disasters gather nigh” chapter 24

A

Rochester sings to Jane. Use of ballad form is a classic trope in the gothic genre as it foreshadows drama and disaster

83
Q

‘my future husband was becoming to me my whole world; and more than the world: almost my hope of heaven’ chapter 24

A

blasphemous. Jane’s world/God is becoming Rochester which is another ill omen

84
Q

chapter 25

A

gothic chapter - night before wedding - full of ill omens

85
Q

“the shape… it was a discoloured face - a savage face.. the Vampyre” chapter 25

A

Bertha visits Jane. Jane dehumanising her. link between Bertha and Jane - needs to be humanised and civilised. discoloured and savage - typical to expect in 1860s - comes from the colonies - seen by the British as savage, animal-like and outlandish. vampire - the ‘other’ link to lunar

86
Q

“the veil, torn from top to bottom in two halves!” chapter 25

A

symbolic - Bertha claiming position of Rochester’s wife. shows Bertha’s strength and power. Bertha and her mental illness is a distorted reflection of Jane Eyre’s Englishness. ‘other’ side of her - denied a voice and identity

87
Q

“fair as a lily” chapter 26

A

image of virginity

88
Q

chapter 26

A

wedding

89
Q

“for be ye well assured that so many as are coupled together otherwise than God’s Word doth allow, are not joined together by God” chapter 26

A

the wedding vows remind the reader of the day of judgement. how society would treat them - foreshadowing what would happen if they commit bigamy - increasing mystery

90
Q

“Mr Rochester has a wife now living” chapter 26

A

appearance vs reality

91
Q

“her mother, the Creole, was both a madwoman and a drunkard!” chapter 26

A

suggestion to Bertha’s madness - mixing of white blood and black blood - victorian belief

92
Q

‘a quantity of dark, grizzled hair, wild as a mane, hid its head and face’ chapter 26

A

madness has robbed her of humanity - need to feel sympathy for Rochester. bestial imagery - animalesque

93
Q

“Wood and Briggs, look at the difference!” chapter 26

A

contrast between Jane and Bertha. legal and religious side both in the room

94
Q

‘Jane Eyre, who had been an ardent, expectant woman - almost bride, was a cold, solitary girl again: her life was pale, her prospects were desolate’ chapter 26

A

seasonal imagery to emphasise loss, loneliness and shock

95
Q

chapter 27

A

structure resembles Jane wrestling with her conscience

96
Q

‘Conscience, turned tyrant, held Passion by the throat’ chapter 27

A

Bronte personifies conscience and passion

97
Q

‘reader, I forgave him at the moment and on the spot’ chapter 27

A

Jane forgiving Rochester. another moment of crisis

98
Q

‘I posses an old house, Ferndean Manor’ chapter 27

A

foreshadowing meeting point and the denouement

99
Q

“I seldom saw her alone and had very little private conversation with her… marriage was achieved almost before I knew where I was” chapter 27

A

Rochester rushed into marriage. Bronte is commenting on upper class tradition and how disastrous it can be

100
Q

“doctors now discovered that my wife was mad - her excesses had prematurely developed the germs of insanity” chapter 27

A

‘my wife’ in italics to show how he hates saying those words - legally he can’t divorce her

101
Q

“Go” said Hope… “let her identity, her connection with yourself, be buried with oblivion”’ chapter 27

A

personifies hope. story of Bertha - what to do with her after finding out she was mad

102
Q

“Hiring a mistress is the next worse thing to buying a slave” chapter 27

A

ironically Rochester shows a sense of respect to woman - he values Jane - extremely honest - men would not be at that time- Rochester loves Jane because she is the antithesis of Bertha

103
Q

“Mr Rochester, I will not be yours…do as I do: trust in God and yourself… I advise you to live sinless and I wish you to die tranquil” chapter 27

A

pivotal moment - love vs duty

104
Q

‘Gentle, reader may you never feel what I then felt! May your eyes never shed such stormy, scalding, heart-wrung tears as poured from mine’ chapter 27

A

passion burst out - just left Thornfield

Jane Eyre (5 decks)

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